Amelia’s Magazine | Simon Ekrelius introduces Monochrome, his new A/W 2014 collection

Simon Ekrelius A/W 2014 by Slowly The Eggs aka Maria Papadimitriou

Simon Ekrelius A/W 2014 by Slowly The Eggs aka Maria Papadimitriou.

Last week Simon Ekrelius showcased a preview selection of garments from his pared down A/W 2014 collection, titled Monochrome. Inspired by iconic model Lee Miller, this season the Swedish designer has focused on a sleek and eminently wearable silhouette, which features innovative fabric treatments and his razor sharp signature tailoring.

Simon Ekrelius A/W 2014 by Megan Thomas

Simon Ekrelius A/W 2014 by Megan Thomas.

When did you first discover the muse for your latest collection, Lee Miller?
Many years ago when I read into Man Ray‘s life and realised that Lee was very involved with his work and the solarisation technique.

simon ekrelius 1

simon ekrelius 2

How did this translate into elements of the Monochrome collection?
Indirectly I wanted to translate the feeling I had for her relationship with photography, perhaps a longshot for some but my idea was to describe her in the time now if she would be alive. So I cut lines all over the body, which were then sprayed and painted. Many of the constructions retain a certain mood, as does the palette and the structure of the fabrics. She created something very subdued through photography; very beautiful and simple. She was stuck in my mind for a long period and now was the right time to bring it all up.

Simon Ekrelius A/W 2014 by Sangita Kumari

Simon Ekrelius A/W 2014 by Sangita Kumari.

What are the key materials and processes used in these garments?
There is wool, cotton, silk, poly blends and nylon. The crème coloured cotton canvas and the black cotton satin has been painted and then sprayed with acrylic.

simon ekrelius 3

simon ekrelius 4

What are your favourite pieces in the collection?
The wool coat with pleats, the spray painted pieces, the black silk organza blouse and dress, the grey pieces, the black shiny and matt jersey dress and the jumpsuit with lighter vertical lines.

simon ekrelius 5

Simon Ekrelius A/W 2014 by xplusyequals

Simon Ekrelius A/W 2014 by xplusyequals.

Who do you hope will wear these garments and why?
Kate Moss, Tilda Swinton, Lily Cole, and Cate Blanchett: because I know they would carry my pieces perfectly.

You can read our previous interview with Simon Ekrelius here.

Categories ,A/W 2014, ,Cate Blanchett, ,Kate Moss, ,Lee Miller, ,Lily Cole, ,Man Ray, ,Maria Papadimitriou, ,Megan Thomas, ,monochrome, ,Sangita Kumari, ,Simon Ekrelius, ,Slowly the Eggs, ,Tilda Swinton, ,xplusyequals

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Amelia’s Magazine | Lug Von Siga: London Fashion Week A/W 2013 Catwalk Review

Luc Von Siga by Louise Smith
Lug Von Siga LFW A/W 2013 by Louise Smith

At first I stand, then I kneel, and by the time the show starts, I’m sitting on the floor. Hardly the most elegant of positions, but comfortable and as an added bonus; clean-view camera shots can be achieved through this little-known ‘crouching tiger’ catwalk-reporting technique.

Luc von Siga by Louise Smith
Lug Von Siga LFW A/W 2013 by Louise Smith

I’m hooked from the moment the orchestral song starts playing at Lug Von Siga‘s A/W 2013 LFW show in Freemasons’ Hall. The music reminds me of listening to the Peter and the Wolf audiotape as a kid. Unnervingly, what drew me in comes back to haunt me and within minutes it sounds more like the distinctive shower-dagger scene from Alfred Hitchcock’s Psycho. I suppose they do say you’d have to be crazy to be a designer…

Lug Von Siga AW 2013
Lug Von Siga AW 2013
All photography by Amelia Gregory

The clothes have a story-time feel to them; modernized fairytale-wear updated for the current era with a lashing of chic and well-cut to add some sophistication. What would a 2013 Little Red Riding Hood wear under her cape? What would a modern day Cap ‘o’ Rushes put on for work? There’s definitely an Upper East Side fairytale Queen among these outfits. A chain-mail like use of silver on one piece feels very knight in shining armour too; female of course.

Lug Von Siga AW 2013-photo by Amelia Gregory
Lug Von Siga AW 2013-photo by Amelia Gregory
Lug Von Siga AW 2013

Turkish designer Lug Von Siga offers this stylish collection on the opening day of LFW A/W 2013. An outfit is even complete with shards of mirror, seemingly confirming my suspicions that the collection is nodding to Snow White, although I soon discover they are actually inspired by Ottoman Empire superstitions. This ancient influence expresses itself through a futuristic look and there’s a hint of 1940s in the block shapes. Elegance is maintained throughout with long gloves and trilby hats. The colours are surprising, with magenta and gold popping up unexpectedly. A shiny jacket with a tinge of astronaut reminds me of Midas and his golden touch as well as hinting at 80s influences. The cherry on top of all this is some rich plum pieces. Combined with the unnerving soundtrack, this magenta makes me think of a certain Cluedo professor and gives the collection an air of mystery. “It was Lug Von Siga’s collection in Freemasons’ Hall with the monochrome that did it for me,” I think to myself.

Lug Von Siga by Rosemary Kirton
Lug Von Siga A/W 2013 by Rosemary Kirton

Lasalle Academy graduate Lug Von Siga has come up with a solid collection; high detatchable collars and androgynous styling define the look. Wool is contrasted against loose fitted jackets and faux-fur is brought into the mix. The pieces are notably well-tailored and there’s a large number of sleeveless garments.

Lug Von Siga AW 2013
Lug Von Siga AW 2013-photo by Amelia Gregory
Lug Von Siga AW 2013

I notice a boy in the audience has an almost identical hat to one of the models. I brush the dust-bunnies from my skirt as I move to get a better view. I’m sitting next to the press photographers. All hunched up together, sitting, standing, crouching; an android with two dozen eyes. What would Charlie Brooker say if he saw them, eh?! I imagine he would roll his eyes deliberately. There’s nothing as annoying as the snapping of the pappa’ during a show. The cameras are so loud they actually create an additional soundtrack, like some sort of rogue percussion instrument. I’m desperate to turn my camera on them and start taking pictures, it feels as though there’s something to document just in the press section. I decide this would be an act of defiance of epic proportions and refrain from listening to the itch of my camera. I look at the audience around me and there are cameras everywhere. iPhones, Nikons, even iPads are held up towards the models.

I put my own SLR down guiltily.

Categories ,A/W 2013, ,Fairytale, ,Fashion Scout, ,Freemasons’ Hall, ,Jessica Cook, ,lfw, ,London Fashion Week, ,Louise Smith, ,Lug Von Siga, ,monochrome, ,Orchestral, ,Rosemary Kirton

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Amelia’s Magazine | London Fashion Week S/S 2011 Presentation Review: Jacob Kimmie


Illustration by Andrea Peterson

It wasn’t until the Jena.Theo show that I got my first hit of fashion adrenaline this LFW. The design duo Jenny Holmes and Dimitris Theocharidis have created a Spring Summer 2011 collection that combines both the theatrical and the wearable in draped layers of silk and jersey, cost shot through with the Midas Touch. Gold leaf was applied not only to models’ eyelids and nails, rx but also to wrists, illness ankles, collarbones and occasionally a breast or belly button that happened to be exposed.

Though this would undoubtedly not go down well in the Muslim world today, culturally the show was a mix of the old Arabian Nights- or Prince of Persia to the computer game generation- meets 19th century British colonialism; models’ heads swathed in oversized turbans or hair backcombed into huge Victorian updos.


Illustration by Andrea Peterson

The winners of Fashion Fringe 2009 struck a perfect balance between catwalk creativity and clothes with the potential to actually be worn in real life; with a wonderful take on a Victorian hoop skirt to finish the show. This is what I want from an LFW show; something fun and inventive as well as wearable clothes.

I sat with the team behind the new Young British Designers website, which champions the likes of Jena.Theo; keep an eye out on Amelia’s for an interview with them coming soon. Adriana was in fact loyally wearing an outfit by the design duo.

We were in the second row but got bumped forward into the front row when there were a few spaces at the last minute; which meant I managed to get a really good, close up look at the raw painted gold leaf stiletto platform shoes.

It also of course, meant goody bag ahoy!Ironically, for a fashion gift, this included one of the best brownies I’ve ever eaten; in fact many of the stalls in the LFW exhibitions have sweets or cakes on their stands, though you never see anyone eating them. Except me.Which is why you won’t see me bearing my gilded navel in an Aladdin-esque ensemble anytime soon.


Illustration by Andrea Peterson

Jacob Kimmie S/S 2011, find illustrated by Gareth A Hopkins

I’d really wanted to catch Jacob Kimmie’s S/S 2011 presentation at The Studio (wherever that was) but time was running out after Ashley Isham’s late runner and I didn’t think I was going to make it. Luckily, ed on my way to Kingston MA’s somewhat uninspiring show (more of that later) I managed to bumble past ‘The Studio’ which was moments from Freemason’s Hall.

On the door I was greeted by the smiliest person I had seen all day, and when you’re so exhausted that you fear you may slip into a coma at anytime, it’s a welcome break to meet somebody like this when you’re surrounded by miserable morons. I demand that this lovely girl, who I don’t know the name of, starts a School for Smiling and signs up half the PR girls at fashion week immediately.

The Studio happened to be at the top of 1001 stairs, which I was in no way prepared for. Luckily an equally smiley girl was poised at the top and provided water, which I assume was a condition set by the Health and Safety Executive.


The studio really needs to get its ceiling looked at. Tut, tut.

Anyway, inside the maze of rooms had been organised to take a one-way-system approach, and relatively normal looking models were perched in each room wearing Kimmie’s S/S 2011 collection. This was a far cry from his A/W 2010 collection of bold monochrome pieces. There was plenty of colour, the fabrics were more forgiving, and there was less emphasis on harsh shapes – but die cut sculptural accessories, created in collaboration with Alice Welsh and Fiona Ross, covered heads and arms and added a futuristic twist.

Silk trapeze dresses, graphic prints and floaty maxi numbers stood side by side with masculine tailoring with a futuristic aesthetic, tailored in wool crepe for that oh-so-luxurious look and feel. Sounds a bit odd ball but it actually worked – and the colour palette, of mint green, fiery florals and, of course, monochrome, brought the collection together.


Illustration by Gareth A Hopkins

I particularly enjoyed this woman-of-the-future look, and actually if you strip away the conceptual accessories (if they’re not your bag) what you’re left with is exemplary and contemporary tailoring that is totally wearable but still fashion forward.

Menswear was on offer too, although this saw Kimmie go back to his grayscale ideals and didn’t stand out amongst blasts of vivid colour. I expect that, with a bit of work, this can be as satisfying as his well-received womenswear.


I’m still worrying about this model two days later. I think if I had pushed her, she would have fallen over straight up like a domino. I worry she’s still standing there right now.


Some perv filming up somebody’s skirt.

All photography by Matt Bramford

Categories ,Alice Welsh, ,Convent Garden, ,Felicities PR, ,Fiona Ross, ,florals, ,Gareth A Hopkins, ,Jacob Kimmie, ,London Fashion Week, ,monochrome, ,S/S 2011, ,Smile, ,Stairs, ,The Studio, ,Trapeze dresses

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Blow Presents Eleanor Amoroso

Eleanor Amoroso LFW SS12 by Gilly Rochester
Eleanor Amoroso S/S 2012 by Gilly Rochester.

Eleanor Amoroso‘s show made me nervous. I find it really hard to watch models struggle with shoes and that is exactly what happened to every poor sod as she made that first awkward turn in gigantic knife edge platforms at the top of the catwalk. They may have looked good when not in motion but I am afraid I just don’t get non-functional footwear: I spent the whole show playing will-she-won’t-she in my head and let me tell you that it was a distraction from admiring the clothes. The shoes were designed in collaboration with Julia Kaldy, dosage whose website features some much more wearable designs. Fashion, visit this eh?

Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
eleanor amoroso S/S 2012 by Lisa Stannard
Eleanor Amoroso S/S 2012 by Lisa Stannard.

Eleanor Amoroso graduated from the University of Westminster last year and has interned with the likes of Charlie Le Mindu, evident in her daring approach to garment construction. For her S/S 2012 collection she worked entirely in monochrome, presenting outfits in either cream (with just the tiniest hint of dip dye) or pitch black. Each piece was a handcrafted exploration of the amazing possibilities of crochet; woven and plaited breast plates fringed with swaying masses of thread that just about covered crucial body parts.

Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso S/S 2012 by Rachel Higham.
Eleanor Amoroso S/S 2012 by Rachel Higham.

Whilst Eleanor Amoroso‘s talent is undoubtable I would love to see a bit more development in terms of garment style; at present I can only see these outfits being worn for fashion shoots when really we should be admiring them on the red carpet.

Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso SS 2012 review-photo by Amelia Gregory
Eleanor Amoroso S/S 2012. All photography by Amelia Gregory.

Categories ,Blow PR, ,Blow Presents, ,Charlie le Mindu, ,crochet, ,Dip-dye, ,Eleanor Amoroso, ,footwear, ,Gilly Rochester, ,Handcrafted, ,Julia Kaldy, ,Lisa Stannard, ,LSO St Luke’s, ,monochrome, ,platforms, ,Rachel Higham, ,University of Westminster

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Jacob Kimmie

Jacob Kimmie by Marta Spendowska
Jacob Kimmie by Marta Spendowska.

I missed the Jacob Kimmie show last season but the fabulous cream and black elegance of his sophisticated collection for A/W 2010 is still etched into my mind.

Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
LFW SS12 Jacob Kimmie by Kristina Vasiljeva
Jacob Kimmie S/S 2012 by Kristina Vasiljeva.

Jacob Kimmie‘s new collection was called Rhapsody and featured a huge number of beautifully constructed garments in signature monochrome, seek but this time with variation in the form of a grey dove print that appeared on white and black grounds to equal effect. Flocks of doves spread across skirts or down tiered chiffon dresses. Taking a brave step away from monochrome Jacob Kimmie also showcased the dove print in coy red.

Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob-Kimmie-(SS-2012)-by-Barb-Royal
Jacob Kimmie S/S 2012 by Barb Royal.

Ah, clinic chiffon. There has been an awful lot of exposed nipple action this LFW and Jacob Kimmie‘s show was no exception. High necked Victorian school marm blouses with slouchy puff sleeves were given the sheer treatment – if only the women likely to afford these garments had such perky boobs. On other blouses bib like ruffles covered the bosom or a dapper rose appeared at the neck. Slim mesh panels up the sides and down the sleeves of long dresses were particularly clever. The contrast of sexiness and primness was emphasised with simple allusions to religion and virginity – a cross around the neck or a barely there netted cape.

Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie S/S 2012 by Sarah Jayne
Jacob Kimmie S/S 2012 by Sarah Jayne Morris.

The show closed with an exposed bride, who sashayed down the catwalk under a diaphanous veil with an empty birdcage swinging at her side. The black models from the show posed in a row at the end of the catwalk as Jacob gave his final bow – as ever an incongruous figure, rotund and cheery in baseball cap, casual t-shirt and shorts – the antithesis of his designs.

Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie SS 2012 review-photo by Amelia Gregory
Jacob Kimmie S/S 2012 by Sarah Jayne Morris
Jacob Kimmie S/S 2012 by Sarah Jayne Morris.

Jacob Kimmie is fast building himself a strong brand that is an alluring combination of prim and sexy. Rhapsody S/S 2012 was a beautiful and wearable collection that should appeal to buyers in spades.

Categories ,Barb Royal, ,Birdcage, ,Bride, ,Chiffon, ,doves, ,Fashion Scout, ,Grey, ,Jacob Kimmie, ,Kristina Vasiljeva, ,lfw, ,London Fashion Week, ,Marta Spendowska, ,Mesh, ,monochrome, ,Nipples, ,Panels, ,print, ,Religious, ,Rhapsody, ,Ruffles, ,S/S 2012, ,Sarah Jayne Morris, ,Sheer, ,Veil, ,Victorian

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Amelia’s Magazine | London Fashion Week S/S 2012: Catwalk Review: Jasper Garvida

Jasper Garvida SS 2012 by Emma Block

Jasper Garvida SS 2012 illustrated by Emma Block

Some may think that having previewed this Spring/Summer 2012 collection in my recent London Fashion Week interview with Jasper Garvida would have dampened my excitement about the show, healing as I’d already seen it all, right? Let me tell you, I was more excited than a teenage girl turning up to her first dance (with cute boys and everything). Having chatted to the warm and sensitive Jasper about his collection, learning about the process and inspiration that went into it, I couldn’t wait to see it modelled on the catwalk at the luxurious Bloomsbury Hotel, which was a nice little break from the rush of Somerset House.

Jasper Garvida SS 2012 by Amelia Gregory
Jasper Garvida SS 2012 by Amelia Gregory
Jasper Garvida SS 2012 by Amelia Gregory

All photography by Amelia Gregory

A restricted colour palette of black and white served as the perfect backdrop to what Jasper loves: his intricate hand-embellished details and natural ability to make feminine garments without them being saccharine sweet and over-the-top. For this collection, the silver and gold detailing as well as the circular prints were inspired by a painting that gave the collection it’s name: ‘Autour d’un Point’ by František Kupka.

Jasper Garvida S/S '12 illustrated by Gareth A Hopkins

Jasper Garvida S/S 2012 illustrated by Gareth A Hopkins

Jasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia Gregory

Hemlines were either above the knee or down to the floor in a series of futuristic-meets-delicate dresses. Jasper showed off his sense of how to flatter the figure without showing too much (as opposed to recurring the boob and nipple-flashing trend that seemed to emerge this London Fashion Week).

Jasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia Gregory

Circular metallic panels made from silver and gold leather created beautiful frames for the shoulders, neckline and hips, as well as sequins cleverly folded and sewn in rows to look like heavy studding without all the extra weight. Perfect for the likes of socialite Lady Victoria Hervey, Katie Melua and MTV presenter Laura Whitmore who all atended the show and would most likely rather not be carrying a ton in studs while presenting the latest Lady Gaga video, attending an event or dancing around on stage. Two pieces that caught my eye (especially as I’d felt how surprisingly butter-soft and light they were in the studio) were the distressed silver and gold raincoat and a black dress with ‘studded’ gold pockets. I could already see many a celebrity stylist clamoring for the attention-grabbing yet wearable collection.

Jasper Garvida S/S 2012 illustrated by Charlotte Hoyle

Jasper Garvida S/S 2012 illustrated by Charlotte Hoyle

Jasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia Gregory

Fashion editor legend Diana Vreeland was the other main influence for Jasper and his S/S 2012, as he loves her individual sense of style (I’d also recommend watching some of her old interviews online, her bonkers and overly-dramatic way of talking fashion is second-to-none) and passion for the exotic. He was also inspired by her innate way of mixing contrasts, which he explored in this collection, creating garments that are hard yet soft and feminine with a strong silhouette thanks to defined silhouettes which reminded me a little of Jean Paul Gaultier and his strong definition of femininity.

Jasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia Gregory

As each model walked past I couldn’t help smiling with pride for Jasper. Details like pockets that stood away and out from the body perfectly aligned with the hips, and the last few dresses completely made from sequins to create a shimmering disco-ball effect got some audible squeals of joy. Sparkle and sequins can go so wrong so easily, but in the hands of Jasper and his team they became wearable and breathtaking without making the models look like they got ready for a New Year’s Eve party months too early. The dresses looked comfortable, and the workmanship shone through as I inspected how well-stitched the sequins were, even catching a glimpse of myself reflected in the dress.

Jasper Garvida S/S 2012 illustrated by Charlotte Hoyle

Jasper Garvida S/S 2012 illustrated by Charlotte Hoyle

Jasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia Gregory

Jasper is serious about well-made clothes (perhaps a couture line would be appropriate in the future) and it shows. I would however have liked to see the look pushed even further with a shoe or jewellry collaboration to compliment the outfits, imagining how incredible a pair of disco-ball Jasper Garvida shoes would look like with one of his tailored black or white dresses. Although in terms of completing the look, it has to be said that the hair suited the collection perfectly; a modern version of a Diana Vreeland-eque strong and high hairstyle sculpted into place with a lot of backcombing.

Jasper Garvida S/S 2012 by Amelia GregoryJasper Garvida S/S 2012 by Amelia Gregory

The Garvida crowd strike a pose

Jasper Garvida S/S 2012 by Amelia Gregory

Our very own contributing writer Akeela Bhattay getting that perfect shot

When the show was over, Laura Whitmore and Lady Victoria Harvey both stayed to congratulate him, gushing over the collection (Laura has been a Jasper Garvida fan for a few seasons). I’m sure Jasper will also be getting more mentions, as the Head of Fashion at the Evening Standard, Maurice Mullen also attended the show, and many a blogger and editor hung around to get a snippet of what went into the collection. In-between socialites and TV presenters and other well-wishers I managed to give the beaming Jasper a quick congratulatory hug, safe in the knowledge that I’d already had the mother of all chats about the collection with him in the studio over a nice cup of tea.

Categories ,Akeela Bhattay, ,Alia Gargum, ,Amelia Gregory, ,Charlotte Hoyle, ,Diana Vreeland, ,Emma Block, ,Frantisek Kupka, ,Gareth A Hopkins, ,jasper garvida, ,John Paul Gaultier, ,Katie Melua, ,Lady Gaga, ,Lady Victoria Hervey, ,Laura Whitmore, ,London Fashion Week, ,Maurice Mullen, ,monochrome, ,MTV, ,Nipples, ,pattern, ,S/S 2012, ,Sequins, ,Somerset House, ,The Bloomsbury Hotel, ,The Evening Standard, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Jean-Pierre Braganza

Jean Pierre Braganza SS 2012 by t.reidyJean Pierre Braganza S/S 2012 illustration by t.reidy

This show was definitely a bit of a calmer affair from the start, pharmacy which can’t be said for every show at the first day of London Fashion Week where there was some customary elbowing and shoving out of the way. As I went to find my seat I spotted fashion writer legends Hilary Alexander and Colin McDowell having a good chat and a giggle together in the front row with Hilary wearing some very sensible yet awesome leopard-print Converse trainers. It was a big comfort to see all the top fashion editors mostly rocking comfortable-yet-cool footwear in fluoro colours or a flashy pattern, pharm as I’d also opted for a pair of flats and was therefore still able to walk instead of hobble to the last show by the end of day.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012. All photography by Amelia Gregory

London-born (then brought up in Canada) Jean-Pierre Braganza has been a favourite of mine since my fashion illustrator student days when I modelled for my exceptionally cool japanese stylist classmate and got to wear a pair of extra-long cream leggings and a lot of crazy makeup plus a Kate Bush-esque wig (I was convinced I looked like an exotic bag lady, but my classmate was onto something with the wig as Jean-Pierre did have a few tracks by Kate in the show). Although I obviously was by no means making waves in the fashion world, what stuck in my mind was the interesting use of ruching along the lower leg that created a strong yet feminine look that gathered the extra length into an interesting shape. And, that was also way before leggings became a normal part of an outfit and were overdone to the extent they are now. Jean-Pierre has since stuck to his aesthetic of creating sculpture-like garments, making him best known for constructed tailoring with a bit of an edge.

Jean Pierre Braganza S/S 2012 by Helena Maratheftis
Jean Pierre Braganza S/S 2012 by Helena Maratheftis

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory

As the lights dimmed and the usual loud ‘shhhs’ came from somewhere (I always wonder if this is the PR people or just people like me who’d rather not have yelling over the music) I was able to give the press release a quick read. A trip to Cornwall is where the idea for the collection started; blue skies and fluffy cornish clouds (which made me also think about yummy fluffy Cornish ice-cream) contrasted with the sharp lines found in sculptures by Barbara Hepworth and works by Ben Nicholson. As a thumping song from the latest Daft Punk Tron movie soundtrack started up I wondered just how Jean-Pierre was going to mix this with inspiration from the Art-Deco area with ‘technological aspiration’ and industrial rock.

Jean-Pierre Braganza S/S 2012 illustration by Claire Kearns
Jean-Pierre Braganza S/S 2012 by Claire Kearns

Girls stomped out in time to the electro-inspired music with a bit of strong blush on the cheek and hair pulled into a high but loose ponytail, which was then given a sculptural fishtail braid by the Toni & Guy session team. I bumped into of one of the models after the show, Odile from Select (she was being photographed and kept snapping into various model-perfect poses in about 0.3 of a second, incredible to see first-hand) who loved the hair so much she was going to keep it in all day. The first look out was a shift dress with a bit of a flapper silhouette and contrasting cut-out dotted panels that created an amazing effect when the models moved. Touché Mr Braganza, you’ve done it again. I loved the sharp lines around the panels, giving the dress shape (reminding me of Tron-like outfits with lit-up panels from the movie) and a strong but pretty look perfectly complimenting the figure. Very nice to see a dress you can just throw on and immediately look very sculptural and tailored.

Jean Pierre Braganza S/S '12 by Amelia Gregory
Jean Pierre Braganza SS 2011 by Amelia Gregory
The shoes, made by Jean-Pierre for Dune, (so perhaps you’ll see them or a version of them to buy next season) were very high and very unsuitable for the everyday but my goodness they packed a punch. Black detailing was contrasted against pale lemon, bright blood red or even caramel and prints to match the dresses. The ridiculously high peep-toe heels did however come into form on the catwalk, elevating the part-dress part-sculpture girls to a skyscraper level and almost turning their legs into a plinth from which the clothes could be artfully exhibited.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012 shoes photographed by Amelia Gregory
Jean Pierre Braganza SS 2012 by Amelia Gregory
Jean-Pierre Braganza S/S 12 shoes by Amelia Gregory
This collection definitely had a lot in it that I loved. Jean-Pierre did sexy cut-outs, which I previously felt puts too much on show and a bit too in-your-face, but in his hands they became petal-soft panels that skimmed curves and held everything in place. They looked almost demure, passing the ‘test’ in where I try to picture myself wearing the dress or shorts or whatever and wonder if I actually would wear it out somewhere nice. It was soft tailoring and sculptural shapes with a feminine yet slightly dark side, which I liked. A lot. There were some gorgeous draped dresses too that reminded me a little of the Spring/Sumer 2010 ‘Dolche Far Niente’ collection by Chalayan but I felt the fabric didn’t have that much to cling to with the slimmer models; some curvier ladies would have worked it better.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012 photo by Amelia Gregory
A tailored suit or two later, I was admiring the necklaces and gawping over just how high the shoes were when without expecting it, I was completely smitten. It was a dress, but not just any dress. As a lover and illustrator of fashion, I know what colours, shapes and silhouettes will tick my boxes, but I go weak at the knees for a bit of monochrome. I just can’t help it. Blame it on having an architect dad, blame it on the way Comme des Garçons and Chanel use it, blame it on whatever you like because I don’t know why but it always gets me. And this dress got me in a bite-my-lip, ‘damn that’s amazing it’s like wearing a sculpture and can I have it now please’ kind of way. So, I was minding my business scribbling notes and wondering what the grand Hilary Alexander thought of all this when my favourite dress of the show walked out and into, well, yes into my heart. I love it when someone creates with real thought and real skills, and when that thing created is something you can wear, well let’s just say it’s a good thing my budget is no-where near being able to buy stuff like this as I think I’d just stare at it for ages.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S '12 by Amelia Gregory
Jean-Pierre Braganza S/S '12 illustrated by Alia Gargum
Jean-Pierre-Braganza S/S 2012 by Alia Gargum

The dress was the same as the first ‘modern day flapper girl’ dress on the catwalk, but in white with black lines that gloriously framed the figure. A long black line travelled from the neckline down to the hemline, where it met the other lines that framed the hips and outlined the shoulders. It was sexy in a very understated and fresh way, but was by no means casual, and I loved it. I loved that you’d just be able to slip it on, that it would go with anything, and details like the dropped hem at the back means you’d never have to worry about it was too short when you bent over to pick something up or when pulling some 20s-meets-futuristic shapes on the dance floor.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean-Pierre Braganza S/S '12 by Marcus Reed
Jean-Pierre-Braganza S/S 2012 by Marcus Reed.

After the dress, I did see a nice silky jumpsuit or two and some lovely patterns that reminded me of shards of coloured glass as well as some very clever details like slightly off-set arm holes but I couldn’t help thinking about the dress. Before I knew it, Jean-Pierre was giving us a little wave from the start of the catwalk and everyone began to file out of the BFC show space. The press release mentioned fashion being ‘about capturing emotion in a glance’, and I would insert some overtly poetic line echoing this, but when it comes down to it I loved a dress so much that it made the hairs on the back of my neck stand up. Mr Braganza, I think you truly merit a ‘job well done’ on this collection.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory

Play the video and watch the show.

Categories ,1920s, ,Art Deco, ,Barbara Hepworth, ,Ben Nicholson, ,chanel, ,Claire Kearns, ,Colin McDowell, ,converse, ,Cornwall, ,cut-outs, ,Daft Punk, ,Dune, ,electro, ,fishtail plait, ,high heels, ,Hilary Alexander, ,Hussein Chalayan, ,Industrial Rock, ,Kate Bush, ,Leopard Print, ,London Fashion Week, ,Marcus Reed, ,Modern Tailoring, ,monochrome, ,S/S 2012, ,Select Models, ,structured, ,t.reidy, ,Toni & Guy, ,Tron, ,Womenswear

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Amelia’s Magazine | London Fashion Week S/S 2012 Catwalk Review: Jean-Pierre Braganza

Jean Pierre Braganza SS 2012 by t.reidyJean Pierre Braganza S/S 2012 illustration by t.reidy

This show was definitely a bit of a calmer affair from the start, which can’t be said for every show at the first day of London Fashion Week where there was some customary elbowing and shoving out of the way. As I went to find my seat I spotted fashion writer legends Hilary Alexander and Colin McDowell having a good chat and a giggle together in the front row with Hilary wearing some very sensible yet awesome leopard-print Converse trainers. It was a big comfort to see all the top fashion editors mostly rocking comfortable-yet-cool footwear in fluoro colours or a flashy pattern, as I’d also opted for a pair of flats and was therefore still able to walk instead of hobble to the last show by the end of day.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012. All photography by Amelia Gregory

London-born (then brought up in Canada) Jean-Pierre Braganza has been a favourite of mine since my fashion illustrator student days when I modelled for my exceptionally cool japanese stylist classmate and got to wear a pair of extra-long cream leggings and a lot of crazy makeup plus a Kate Bush-esque wig (I was convinced I looked like an exotic bag lady, but my classmate was onto something with the wig as Jean-Pierre did have a few tracks by Kate in the show). Although I obviously was by no means making waves in the fashion world, what stuck in my mind was the interesting use of ruching along the lower leg that created a strong yet feminine look that gathered the extra length into an interesting shape. And, that was also way before leggings became a normal part of an outfit and were overdone to the extent they are now. Jean-Pierre has since stuck to his aesthetic of creating sculpture-like garments, making him best known for constructed tailoring with a bit of an edge.

Jean Pierre Braganza S/S 2012 by Helena Maratheftis
Jean Pierre Braganza S/S 2012 by Helena Maratheftis

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory

As the lights dimmed and the usual loud ‘shhhs’ came from somewhere (I always wonder if this is the PR people or just people like me who’d rather not have yelling over the music) I was able to give the press release a quick read. A trip to Cornwall is where the idea for the collection started; blue skies and fluffy cornish clouds (which made me also think about yummy fluffy Cornish ice-cream) contrasted with the sharp lines found in sculptures by Barbara Hepworth and works by Ben Nicholson. As a thumping song from the latest Daft Punk Tron movie soundtrack started up I wondered just how Jean-Pierre was going to mix this with inspiration from the Art-Deco area with ‘technological aspiration’ and industrial rock.

Jean-Pierre Braganza S/S 2012 illustration by Claire Kearns
Jean-Pierre Braganza S/S 2012 by Claire Kearns

Girls stomped out in time to the electro-inspired music with a bit of strong blush on the cheek and hair pulled into a high but loose ponytail, which was then given a sculptural fishtail braid by the Toni & Guy session team. I bumped into of one of the models after the show, Odile from Select (she was being photographed and kept snapping into various model-perfect poses in about 0.3 of a second, incredible to see first-hand) who loved the hair so much she was going to keep it in all day. The first look out was a shift dress with a bit of a flapper silhouette and contrasting cut-out dotted panels that created an amazing effect when the models moved. Touché Mr Braganza, you’ve done it again. I loved the sharp lines around the panels, giving the dress shape (reminding me of Tron-like outfits with lit-up panels from the movie) and a strong but pretty look perfectly complimenting the figure. Very nice to see a dress you can just throw on and immediately look very sculptural and tailored.

Jean Pierre Braganza S/S '12 by Amelia Gregory
Jean Pierre Braganza SS 2011 by Amelia Gregory
The shoes, made by Jean-Pierre for Dune, (so perhaps you’ll see them or a version of them to buy next season) were very high and very unsuitable for the everyday but my goodness they packed a punch. Black detailing was contrasted against pale lemon, bright blood red or even caramel and prints to match the dresses. The ridiculously high peep-toe heels did however come into form on the catwalk, elevating the part-dress part-sculpture girls to a skyscraper level and almost turning their legs into a plinth from which the clothes could be artfully exhibited.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012 shoes photographed by Amelia Gregory
Jean Pierre Braganza SS 2012 by Amelia Gregory
Jean-Pierre Braganza S/S 12 shoes by Amelia Gregory
This collection definitely had a lot in it that I loved. Jean-Pierre did sexy cut-outs, which I previously felt puts too much on show and a bit too in-your-face, but in his hands they became petal-soft panels that skimmed curves and held everything in place. They looked almost demure, passing the ‘test’ in where I try to picture myself wearing the dress or shorts or whatever and wonder if I actually would wear it out somewhere nice. It was soft tailoring and sculptural shapes with a feminine yet slightly dark side, which I liked. A lot. There were some gorgeous draped dresses too that reminded me a little of the Spring/Sumer 2010 ‘Dolche Far Niente’ collection by Chalayan but I felt the fabric didn’t have that much to cling to with the slimmer models; some curvier ladies would have worked it better.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S 2012 photo by Amelia Gregory
A tailored suit or two later, I was admiring the necklaces and gawping over just how high the shoes were when without expecting it, I was completely smitten. It was a dress, but not just any dress. As a lover and illustrator of fashion, I know what colours, shapes and silhouettes will tick my boxes, but I go weak at the knees for a bit of monochrome. I just can’t help it. Blame it on having an architect dad, blame it on the way Comme des Garçons and Chanel use it, blame it on whatever you like because I don’t know why but it always gets me. And this dress got me in a bite-my-lip, ‘damn that’s amazing it’s like wearing a sculpture and can I have it now please’ kind of way. So, I was minding my business scribbling notes and wondering what the grand Hilary Alexander thought of all this when my favourite dress of the show walked out and into, well, yes into my heart. I love it when someone creates with real thought and real skills, and when that thing created is something you can wear, well let’s just say it’s a good thing my budget is no-where near being able to buy stuff like this as I think I’d just stare at it for ages.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza S/S '12 by Amelia Gregory
Jean-Pierre Braganza S/S '12 illustrated by Alia Gargum
Jean-Pierre-Braganza S/S 2012 by Alia Gargum

The dress was the same as the first ‘modern day flapper girl’ dress on the catwalk, but in white with black lines that gloriously framed the figure. A long black line travelled from the neckline down to the hemline, where it met the other lines that framed the hips and outlined the shoulders. It was sexy in a very understated and fresh way, but was by no means casual, and I loved it. I loved that you’d just be able to slip it on, that it would go with anything, and details like the dropped hem at the back means you’d never have to worry about it was too short when you bent over to pick something up or when pulling some 20s-meets-futuristic shapes on the dance floor.

Jean Pierre Braganza S/S 2012 by Amelia Gregory
Jean Pierre Braganza SS 2012 by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean-Pierre Braganza S/S '12 by Marcus Reed
Jean-Pierre-Braganza S/S 2012 by Marcus Reed.

After the dress, I did see a nice silky jumpsuit or two and some lovely patterns that reminded me of shards of coloured glass as well as some very clever details like slightly off-set arm holes but I couldn’t help thinking about the dress. Before I knew it, Jean-Pierre was giving us a little wave from the start of the catwalk and everyone began to file out of the BFC show space. The press release mentioned fashion being ‘about capturing emotion in a glance’, and I would insert some overtly poetic line echoing this, but when it comes down to it I loved a dress so much that it made the hairs on the back of my neck stand up. Mr Braganza, I think you truly merit a ‘job well done’ on this collection.

Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory
Jean Pierre Braganza SS 2011 review-photo by Amelia Gregory

Play the video and watch the show.

Categories ,1920s, ,Art Deco, ,Barbara Hepworth, ,Ben Nicholson, ,chanel, ,Claire Kearns, ,Colin McDowell, ,converse, ,Cornwall, ,cut-outs, ,Daft Punk, ,Dune, ,electro, ,fishtail plait, ,high heels, ,Hilary Alexander, ,Hussein Chalayan, ,Industrial Rock, ,Kate Bush, ,Leopard Print, ,London Fashion Week, ,Marcus Reed, ,Modern Tailoring, ,monochrome, ,S/S 2012, ,Select Models, ,structured, ,t.reidy, ,Toni & Guy, ,Tron, ,Womenswear

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Amelia’s Magazine | London Fashion Week A/W 2011 Catwalk Review: Alice Palmer


Illustration by Jo Cheung

So after a rollercoaster six days, capsule for sale Menswear Day and London Fashion Week drew to a close with hip-store Kokon To Zai’s label, KTZ, and what would be my final show of this season. I absolutely loved what they did last season, and I couldn’t wait to see what they’d come up with next.


All photography by Matt Bramford

A heavily policed front row meant me and illustrator Gareth took seats on the second, but I managed to get on the end so that my pictures would make it look like I was Frowing all along. I was bloody exhausted and feeling very sorry for myself, and I couldn’t help but wish that they’d just get on with it and stop papping people wearing pig masks. My legs wobbled and I struggled to keep my eyes open, but when the music started and the first look appeared, I quickly forgot my woes.


Illustration by June Chanpoomidole


Illustration by Thomas Leadbetter

Memphis-inspired fashion? I thought I’d died and gone to heaven. A pumpin’ soundtrack blasted from the PA system as gorgeous models (more women than men, but who cares?) sashayed up and down the length of the BFC tent. Stripes were a plenty on figure-hugging dresses with sweetheart necklines that feature extra flaps in that Pop Art/Memphis splatter pattern. Vibrant primary colours made black dresses playful: such a sophisticated, considered collection expertly styled by wonder-styilst Anna Trevelyan.

A whole load of other influences filtered into this power collection – the womenswear referenced power dressing from the 1980s (think Dynasty) and Mondrian’s prints; the menswear also digging up the eighties with (faux!) fur lapels and broad shoulders.


Illustration by Abby Wright

I have to admit, I did prefer the womenswear – it was far more wearable for fashion-forward ladies and it oozed sex appeal with dresses cut above the knee and details in all the right places to emphasise the curves. The menswear featured striped balaclavas topped with pom-poms, acrylic brooches which referenced the womenswear, over-sized imposing puffa jackets and graphic-print trousers. But it’ll be the womenswear that cements Kokontozai’s place as one of London’s hottest design duos.


Illustration by Lesley Barnes

Huge orb-like creations were worn on wrists, picking out patterns from lapels. And, oh, the cuts! Dynamic pieces of fabric were layered onto classic tailored pieces to give them a seriously sexy aesthetic. This was a collection that was playful but sophisticated at the same – a really difficult challenge to pull off.


Illustration by Valerie Pezeron

I loved EVERYTHING about it. I can’t put it into words, so just have a look at the pictures. Oh, and read Amelia’s more comprehensive and articulate review here!

You can see more from Jo Cheung, June Chanpoomidole, Abby Wright and Lesley Barnes in Amelia’s Compendium of Fashion Illustration!


Marnie for Ziad Ghanem A/W 2011 by Tigz Rice
Marnie Scarlet for Ziad Ghanem A/W 2011 by Tigz Rice.

Ziad Ghanem‘s Never End, salve Never End, troche Never End was one of those hotly tipped shows that all my contributors were desperate to go to so I was promised performance catwalking at its best. What I hadn’t expected was to land a prime seat right opposite Boy George, looking remarkably svelte next to Daniel Lismore.

Boy George and Daniel Lismore. Photography by Amelia Gregory
Boy George and Daniel Lismore. Photography by Amelia Gregory.

I remember the allure of Karma Chameleon, back when a dodgy video was sufficient accompaniment for pop songs of such genius. Colour by Numbers was actually the VERY FIRST album that I owned, given to me by my aunt on good old cassette tape.

YouTube Preview Image

But then, ah, the show!!! This collection was inspired by a horror video game called Silent Hill and the work of Romantic painter John Henry Fuseli, and it explored themes of gothic romance. The press release states that the same garment viewed in a dark, gothic context by one viewer will be interpreted as romantic and liberating by the next.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by Jessica Holt
Ziad Ghanem A/W 2011 by Jessica Holt.

The show opened with a stunning piece of performance, as a red-headed model appeared in gothic Tim Burton-esque make up, black skirts tumbling as she grew before our eyes into a 12 foot monster burlesque bride waving great green feathered fans. Thereafter followed a series of printed, billowing capes and tightly corseted dresses, all accessorised with veils, reddened eyes, cracked cheeks and Joker smiles. Apparently Ziad asked each model to choose their own favourite horror film make up for the show.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by Jamie McGregor
Ziad Ghanem A/W 2011 by Jamie McGregor.

Androgynous models wore chiffon and beaded dresses, a spooky ghost couple trailed still more netting behind as they faced the photographers together. Amidst the drama cleverly made outfits showcased traditional haute couture skills using bias cut vintage silk chiffons and duchess satin that flowed around the body.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by The Lovely Wars
Ziad Ghanem A/W 2011 by The Lovely Wars.

A white faced creature smeared its face with black paint and make up took a turn towards our feathered friends: blue winged eyes echoing the giant bird prints on winged dresses. Out stepped a ballet dancer on pointe, edging down the catwalk in frilled lilac, her skull face shrouded in grey. As she retreated backwards a series of busty ladies swept down the catwalk in eminently wearable multi coloured chiffon dresses: amongst them walked transvestites, burlesque artists and a giant lady in grey. I particularly adored the bustle backed electric fuchsia number that emphasised every womanly curve.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011 by The Lovely Wars
Ziad Ghanem A/W 2011 by The Lovely Wars.

Taking the art of the catwalk to fantastical heights, Ziad Ghanem proved that his shows really are worth the hype, with or without the added bonus of an 80s pop idol in a fabulous yellow fedora. You can read more about his unique selection of models here.

Ziad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia GregoryZiad Ghanem A/W 2011. Photography by Amelia Gregory
Ziad Ghanem A/W 2011. Photography by Amelia Gregory.

You can also read Florence Massey’s review of the Ziad Ghanem show here.

Alice Palmer A/W 2011 by Maria Papadimitriou
Alice Palmer A/W 2011 by Maria Papadimitriou.

Glaswegian Alice Palmer makes extravagantly shaped knitwear. Now based in London, medical she demonstrated her ‘polyhedra knitting’ skills to the max with her Into the Void collection. The press release cites the minimalism of Anish Kapoor, side effects the eccentric dreams of flying machine enthusiast Gustav Mesmer, who invented an Umbrella Helicopter, and Black Sabbath as diverse influences, but you’d be hard pushed to identify them in anything more than the loosest of contexts.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 by Gilly RochesterAlice Palmer A/W 2011 by Gilly Rochester
Alice Palmer A/W 2011 by Gilly Rochester.

Abstracted shapes in monochrome and muted gold were the basis of Into the Void, extended and furled from the body in stunning 3D folds like the skin of an exotic ridged lizard. Large dangling flaps resembled the armoured scales of a dinosaur as they capsized down low cut backs, or heaved forwards like ruptured innards. Hair was layered high on top of the head, and eyes pronounced with winged eyebrows in severest black. Tight fitting dresses with a geometric pattern like rippling water were amongst the most desirable in terms of wearability.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void All photography by Amelia Gregory.Alice Palmer A/W 2011 Into the Void Daniel Lismore photography by Amelia Gregory.Alice Palmer A/W 2011 by Emmi OjalaAlice Palmer A/W 2011 by Emmi Ojala
Alice Palmer A/W 2011 by Emmi Ojala.

I was particularly captivated by the amazing spike jewellery which came bobbing seductively past me at eye level on wrists, and around necks, and dangling in great stacked globes off fingers. It was created by Karen-Ann Dicken of Oread Jewellery, a fellow Glaswegian who trained at the Royal College of Art. For this catwalk show she lent her Geo designs, made from steel, silver, semi-precious stones and cubic zirconia.

Alice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryAlice Palmer A/W 2011 Into the Void. Photography by Amelia GregoryKaren-Ann Dicken geo necklaceKaren-Ann Dicken geo necklace in steel
Geo necklace images courtesy of Karen-Ann Dicken.

Alice Palmer A/W 2011 Into the Void. Rebekah Roy. Photography by Amelia Gregory
Alice Palmer A/W 2011 Into the Void stylist, the lovely Rebekah Roy. All photography by Amelia Gregory.

You can view more work by Emmi Ojala in my first book, Amelia’s Anthology of Illustration, available here.

Categories ,Alice Palmer, ,Amelia’s Anthology of Illustration, ,Anish Kapoor, ,architectural, ,Black Sabbath, ,Cubic Zirconia, ,Daniel Lismore, ,Emmi Ojala, ,Fashion Scout, ,Geo Designs, ,Geo Necklace, ,geometric, ,Gilly Rochester, ,glasgow, ,Gustav Mesmer, ,Into the Void, ,Karen-Ann Dicken, ,knitwear, ,lfw, ,Maria Papadimitriou, ,minimalism, ,monochrome, ,Oread Jewellery, ,Polyhedra Knitting, ,Rebekah Roy, ,Royal College of Art, ,Silver, ,Slowly the Eggs, ,Steel, ,Umbrella Helicopter

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Amelia’s Magazine | KTZ: London Fashion Week S/S 2014 Catwalk Review

KTZ S/S 2014 by Rose Crees

KTZ S/S 2014 by Rose Crees

Since illustrating KTZ‘s striking A/W 2011 collection for Amelia’s Magazine, I have wished there would come a chance to attend a KTZ catwalk show in person. Koji Maruyama and Marjan Pejowski’s S/S 2014 womenswear collection impressed me both visually and intellectually – welcoming the sweeping winds of change whilst looking back at older, wiser traditions – but unfortunately the new structure of the main catwalk space at Somerset House, plus super tight security measures to control the larger audiences it can hold meant that I found myself impossibly struggling for a good spot to capture properly on camera this much anticipated moment. So what better chance for a lavishly illustrated London Fashion Week review!

KTZ S/S 2014 by Lynne Datson

KTZ S/S 2014 by Lynne Datson

KTZ S/S 2014 by Lynne Datson

Carrying on from their S/S 2014 menswear collection’s Arabic influences and extensive use of symbols, KTZ focused again for their S/S 2014 womenswear collection on themes related to spirituality, religious attire and nomadic cultures, highlighting the impact on today’s society by migrating populations. Against the backdrop of an upbeat atmosphere and a soundtrack which included howling winds, fire crackling sounds, wild animal growling and western re-mixes of eastern tunes, we saw burqa-style dresses, billowing capes, floral prints reminiscent of Islamic mosaics and graphic monochrome patterns made up from shapes of stars and pentagons. Black bomber jackets covered in silver hardwear, spiked wrist cuffs and hats as well as bold silver jewellery further added to the general feel of determination and optimism I thought this collection exuded.

KTZ S/S 2014 by xplusyequals

KTZ S/S 2014 by xplusyequals

KTZ S/S 2014 by Antonia Parker

KTZ S/S 2014 by Antonia Parker

KTZ S/S 2014 by Dom & Ink

KTZ S/S 2014 by Dom & Ink

KTZ S/S 2014 by Gareth A Hopkins

KTZ S/S 2014 by Gareth A Hopkins

KTZ S/S 2014 by Scott W Mason

KTZ S/S 2014 by Scott W Mason

KTZ S/S 2014 by Karolina Burdon

KTZ S/S 2014 by Karolina Burdon

KTZ S/S 2014 by Claire Kearns

KTZ S/S 2014 by Claire Kearns

KTZ S/S 2014 by Claire Kearns

KTZ S/S 2014 by Lizzie Donegan at New Good Studio

KTZ S/S 2014 by Lizzie Donegan at New Good Studio

KTZ S/S 2014 by Slowly The Eggs

KTZ S/S 2014 by Slowly The Eggs

Categories ,Antonia Parker, ,Arabic, ,BFC Tent, ,british fashion council, ,Burqa, ,Claire Kearns, ,deserts, ,Dom & Ink, ,Floral prints, ,Gareth A Hopkins, ,Karolina Burdon, ,KTZ, ,Lizzie Donegan, ,London Fashion Week, ,Lynne Datson, ,Maria Papadimitriou, ,monochrome, ,New Good Studio, ,prints, ,Religious, ,Rose Crees, ,S/S 2014, ,Scott W Mason, ,Slowly the Eggs, ,Spikes, ,Womenswear, ,xplusyequals

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